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pi DAILY BREAD 
7^ WINDOW TO THE SOUTH 
THE LEAN YEARS 



ONE-ACT PLAYS 

BY 

MARY KATHARINE REELY 



THE H. W. WILSON COMPANY 

NEW YORK 

1919 



DAILY BREAD 

A WINDOW TO THE SOUTH 

THE LEAN YEARS 



ONE-ACT PLAYS 

BY 

MARY KATHARINE REELY 



THE H. W. WILSON COMPANY 

NEW YORK 

1919 






<l> 



^' 



Copyright, 19 19 

BY 

M. K. Reely 

For permission to produce any of these 
plays address the author in care of the pub- 
lisher. 



©CU529832 



DAILY BREAD 

"All life moving to one measure— 
Daily bread, daily bread —" 

-W. W. GIBSON 



CHARACTERS: 

John Boyd 

Mrs. Boyd 

Alice 

Mrs. Schultz, a neighbor 

Miss Davis, a friendly visitor 



DAILY BREAD 



SCENE: 

The Boyd's kitchin-living room, in a four-family tenement in a 
mid-western city. It is a home of clean, respectable poverty. 
The room is furnished with a cook stove, table that is partly 
set, ready for a meal, a high bureau which stands against the 
rear wall, and several chairs. The door which opens onto 
the hallway is at the upper right. 
Mrs. Boyd, a slight, quick-moving woman, is humming softly as 
she busies herself about the room. Hurrying to the cook 
stove, she takes the lid off a stew kettle, sniffs, nods her head 
and smiles with the air of one well pleased. The outer door 
opens. 

Mrs Boyd 
[Over her shoulder] 
Is it you, Allie? 

[Alice, a thin shouldered little girl of apparently about 
thirteen, enters with her school books. Alice sniffs.] 

Mrs Boyd 
Don't it smell good? 

[Alice walks over to the stove, lifts the lid off the kettle.] 

Alice 
Why, it's real old Irish stew. Ma ! 

Mrs Boyd 
Indeed, and that's what it is. 

Alice 
With meat! 

Mrs Boyd 
Sure, for it's good and hungry your pa will be when he gets 
home from his job. 



6 Daily Bread 

Alice 
[Taking off her cap and grey sweater and dropping her 
books on the table.] 
It's nice to have Pa with a job again, isn't it, Ma? 

Mrs Boyd 
Indeed it is ! And wasn't he the proud man, going off to his 
work this morning! [Glancing at clock on bureau.] He'll be late 
coming home, I'm thinking. It's a long walk from the mills, and 
he'll be thinking he can't spend the nickel for carfare — him 
having been out of work so long. Where's the boys — they're 
late. 

Alice 
They went to the Settlement for their gym class. [Opening one 
of her school books]. Ma dear, I brought home my report card. 
[Offering it shyly.] 

Mrs Boyd 
[Wiping her hands on her apron. Running her finger down 

the card, she half murmurs to herself.] 
Excellent — Excellent — Reading, Excellent — Spelling, Excellent 
— Arithmetic — Why, Alice, darlin', you're falling off here ! 
You're only getting a mark of Good in your 'rithmetic, when by 
rights you ought to have Excellents in all of 'em." [Suddenly 
taking the girl's thin cheeks between her hands]. You darling! 
It's a great scholar you are, and it's a proud man your Pa will 
be when he comes home from his work, and sees this ! Put it up 
now on the bureau, so's he can see it first thing when he comes 
in and sign his name to it. It's so pleased he is that he can keep 
you in school till you graduate — now that he has his job. 

[Mrs Boyd goes back to the stove where she busies herself. 

Alice places the card on the bureau.] 

Alice 
I met Miss Davis down the street. She said maybe she'd stop 
in. She was awfully pleased that Pa went to his job this morn- 
ing. 

Mrs Boyd 
Well it's thru her, bless her, that he has a job to go to. 

Alice 
She says it's a good place to work — the mills. They treat you 
right there. 



Daily Bread 7 

Mrs Boyd 
Well of course the pay ain't what your Pa's been used to — but 
it's better than nothing these days — and he was glad to get it, 
poor man, having been out of work so long. 

Alice 
You won't be going with Mrs. Schultz now, will you Ma? 

Mrs Boyd 
No not now, Allie. You might be setting the plates around, 
dear. Not but what I'd be glad to go — with a few nights' work, 
we could get caught up again — but your pa don't like the idea. 
He's sort of old-fashioned in his notions, your pa — "It's a poor 
man that can't support his own family," he says — but God save 
us, what's a man going to do these times if he can't get a job! 
'Tain't his fault, poor dear! 

Alice 
Just the same, I'm glad you're not going out. Ma, I'd hate for 
you to take to night scrubbing like Mrs. Schultz. Maybe I could 
get a job, Ma, then you wouldn't need to. Next month I'll be 
fourteen. I could get a permit. 

Mrs Boyd 
Now, now, child, don't you talk about getting a job ! You with 
that fine report card! Well, God be praised we don't neither of 
us need to be talking of work now that your Pa has his job. 
Hark! Is that himself so soon? [Hastens to the door.] 

[There are voices outside. One (Miss Davis) calls out as 
Mrs. Boyd opens the door.] 

Miss Davis 
What am I going to do about it, Mrs. Boyd. I was coming in 
to see you and here's Mrs. Schultz saying I owe her a call ! 

Mrs Boyd 
Sure and you'll both come in and pay me a visit together. Come 
in, Mrs. Schultz. 

Miss Davis 
[Appearing at the door. She is a good-looking young 
woman, dressed in a stylish but plain and business-like 
suit. ] 



8 Daily Bread 

How are you, Mrs. Boyd? Hello, Alice. 

[Mrs. Schultz, a large stolid-looking woman follows her 
into the room. Both visitors sniff the air.] 

Miss Davis 
Um! Something good! 

Mrs Schultz 
Onions ! 

Mrs Boyd 
It's the stew, ready for his supper when he comes home from 
his work. 

Mrs Schultz 
So your man's working again. I seen him going off this morn- 
ing. [Seats herself heavily in a chair near the table']. I just 
been out for a few rolls to eat with my coffee before I go to 
my work. [To Mrs. Boyd] So you won't be coming along now? 

Mrs Boyd 
No, not now. He wouldn't like it — and of course it isn't so 
necessary — now that he is working again. [To Miss Davis] 
Thanks to you! Now lay off your coat. Miss Davis, and you 
Mrs. Schultz. I'm going to make you a cup of tea. He won't 
be coming in for awhile yet. 

Miss Davis 
Oh, I can't stay. I've really got to run down to Fourth Avenue 
to look up Annie Tierney — they say she's given up her place in 
the store and taken to running the streets again. 

Mrs Boyd 
You don't say? Well, she was always a light headed little thing 
— and not having any training of any kind. But you can look her 
up tomorrow. I'm sure it's enough you've done for one day. 
Allie dear, take Miss Davis's coat. 

Miss Davis 
Mrs. Boyd, you spoil me ! Never mind dear, I'll put it here. 
[Hangs coat over hack of chair.] 

Mrs Boyd 
Now Mrs. Schultz, lay off your coat. 



Daily Bread 



Mrs Schultz 
Well, I don't mind if I do. Allie, put them rolls I brought out 
on a plate. We might as well all eat here together sociable like, 
eh, Miss Davis? 

Mrs Boyd 
That's a fine idea. 

[Alice takes the cinnamon rolls out of the bag and puts 
them on a plate. Brings cups.] 

Miss Davis 
I heard something about you, Alice. 

Alice 
Me? 

Miss Davis 
Umph-um! Met Miss Mayberry. 

Alice 
[With a little laugh.] 
Oh! 

Mrs Boyd 
Well, I guess it ain't anything very bad' you'd be hearing about 
Alice from her teacher. 

Miss Davis 
Oh, it might be worse — she says that Alice is a very promising 
pupil ! 

Alice 
Just the same she gave me a scolding today. 

Miss Davis 
[With exaggerated seriousness.] 
Alice, I'm ashamed of you. 

Mrs Boyd 
And what were you doing to deserve a scolding, I'd like to 
know ? 

Alice 
I didn't do anything. 

Miss Davis 
[Still assuming a very reproving manner.] 
Now, Alice, that isn't true ! You know you must have been 
doing something very naughty. 



10 Daily Bread 

Alice 
Well, we had clay modeling today, and I made a little clay man 
that Myrtle Burns thought very funny, and she giggled, and then 
Miss Mayberry said: [Imitatuig] Alice, I am surprised. I look 
to you to set a better example to the class. [Giggles.] 

Miss Davis 
Alice ! If that's the way you spend your time in school, we'll 
have to — make an artist out of you ! 

Mrs Boyd 
[Pouring the tea and handing about the cups.] 
Well, if the teachers never had any more worry than what Alice 
gives them, they'd be having an easy time of it ! With the boys 
now it is different. 

Miss Davis 
Where are the boys? 

Mrs Boyd 
Alice was saying they went over to the Settlement. They're late 
coming home. 

Miss Davis 
Oh, yes, there's a basket ball game on tonight — no telling what 
time they'll be here. By the way, send Billy over Saturday after- 
noon. I have a job for him. Oberman, the florist wants an 
extra. boy to deliver — he'll pay fifty cents. I say, Mrs. Schultz, 
these things are awfully good. [Holding up a roll.] 

Mrs Schultz 
Yes, I usually buys them to eat with my coffee before I goes to 
my work. . . . Two of them makes a good meal. 

Miss Davis 
But, Mrs. Schultz, you ought to have something more nourishing 
— working the way you do. 

Mrs Schultz 
Ach, don't you go worrying about me. I eat enough all right. 

Alice 
[Who is hanging over the back of her mother's chair.] 
But it isn't the amount you eat — it's the calories. [She speaks 
very learnedly.] 



Daily Bread 1 I 

Mrs Boyd 
Listen to her ! 

Miss Davis 
Bright girl AHce, we'll make a dietitian out of you. 

Mrs Schultz 
Calories is it? Yes, I heard all about that all ready — at the 
Settlement. A lady was talking about what she call "calories," — 
and I thought it was some kind of a vegetable, like carrots, or 
kohl-rabi, maybe — but when she says a man should eat fourteen 
hundred or some such number a day ! Ach, Himmel ! I thinks, 
he'd bust! 

[Alice giggles and the others laugh.] 

Alice 
But, Mrs. Schultz, a calorie isn't something to eat, it's — it's — 
well, it's the food value in what you eat. 

Mrs Schultz 
Yes, I got that idea all right — it's som.ething like these here germs 
they talk about. 

[Alice and Miss Davis arc again convulsed.] 

Mrs Schultz 
You know too much, [shaking her finger at Alice] if you was 
my girl, you would go to work. You're old enough. First thing 
your Ma knows, you will up and get married — and then what 
good will she have of you? 

Mrs Boyd 
Now, don't you be putting silly ideas in her head. Allie she isn't 
going to be thinking of work for a year or two yet. 

Miss Davis 
We aren't going to let Alice go to work. Miss Mayberry wants 
her to go to the Vocational High School. 

Mrs Boyd 
Yes, that's what her Pa would like, to send her on to high 
school — and now that he's working again — Have another cup. 
Miss Davis — wish I could offer you some of the stew, but it's got 
to be saved for himself — he'll be good and hungry, poor man 



12 Daily Bread 

that ain't had a decent meal for weeks. "What we can't pay for 
we won't have," he says. And the boys will be good and hungry 
too, little tykes ! It's been hard on them with never a bite of 
meat in the house. Us women folks do very well on bread and 
tea — but men, the poor dears, need feeding. 

Mrs Schultz 
Well, I guess you're lucky you ain't got more to feed. What 
would you do if you had six like I had? That's what I says to 
the lady over to the Settlement that talked about making what 
she called a "budget." You remember that already, Miss Davis? 
Showing us how to live on our incomes. She kept all the time 
talking about the "average American family." The average 
American family, she says, ought to live comfortable on $950 a 
year. And I says to her. What is it, the average American 
family, I says. And, the average American family, she says, is 
a husband, a wife and three children. And I says to her. How 
about it when you got six? And she kind of didn't have nothing 
more to say. 

Mrs Boyd 
Well, then, I've got the "Average American family," have I? 
So if I only had the $950, I'd be all right !, but I ain't been hav- 
ing it this year, by a long sight ! 

Miss Davis 
Well, that's all over now — now that Mr. Boyd is working again. 

Mrs Schultz 
I surely never had no nine hundred fifty neither when mine was 
growing — and when they was old enough to be a help, off they 
go and get married and start it all over again. It's foolishness I 
says to them. Now you got jobs for yourselves you got it pretty 
good. You go and get married and then your troubles begin. 
Any poor man that gets married and tries to raise a family is a 
fool, I says to them. But you can't talk sense to young people. 

Miss Davis 
Now, Mrs. Schultz, you don't mean that. You're glad you had 
your children, you know you are. 

Mrs Schultz 
Small comfort they ever was to me. 



Daily Bread 13 

Mrs Boyd 
Sure and she don't mean it. She wouldn't give up her children 
any more than I would mine. 

Mrs Schultz 
Did you feel that way last week and the week before that when 
your man had no work? 

Mrs Boyd 
[Thoughtfully.] 
It is hard to see them do without — maybe it is better not to have 
them at all than it is to see them do without. And to take them 
away from their studies to put them to work for you. 

Alice 
[Slipping up to her mother. 1 
Ma, dear, don't talk that way. You know I'd love to go to work 
for you. 

Miss Davis 
But we needn't talk about that now, need we? 

Mrs Schultz 
Well, you take care of your children, and they should ought to 
turn around and do for you. Well, I must be off to my scrub- 
bing. So you won't be coming along? I am sorry — Mrs. Atkins 
— her that's been working along with me on the top floor— has 
laid off. Her time is almost here. 

Mrs Boyd 
Ah, the poor dear. 

Mrs Schultz 
Working right up to the last minute almost, — you should not 
ought, I says to her — but what can she do ? Her man's been sent 
up to "the workhouse for vagrancy — and there's three others be- 
sides the one that's on the way. 

Miss Davis 
She is horribly independent — she wouldn't have help. 

Mrs Schultz 
Well, I'm sorry you're not coming along. [Puts on her coat]. 
Anytime you want a night's work— it's not so bad — them tile 



14 Daily Bread 

floors is easy to clean — only on the knees it is bad — well, so- 
long. 

Miss Davis 
Wait, I'll go with you. 

Mrs Boyd 
Sure, dear, I wish you could wait and see him when he comes 
home — he'll want to tell you about his job — after you're getting 
it for him and all. 

Miss Davis 

[Alice helping her into her coat.] 
I would like to see him — but then I know it's all right — He has 
a good place. I'm always glad when I get a man into the flour 
mills. You know, really I get awfully discouraged sometimes. 
So much of the work we do seems trifling — but when I find a 
man a job, then I think I've done something! 

[A heavy step outside — a hand on the door.] 

Mrs Boyd 
It's himself ! Alice clear the table, fix his place. 

[Instead of going to the door to meet him, she darts to the 
stove. The door opens — John Boyd stands there. The 
four women look at him silently. He advances into the 
room.] 

Mrs Boyd 
My God man — your job? 

Alice 
Pa, dear, sit down. [Pushes him toward a chair — he sinks into 
it, his hands, holding his hat, drooping between his knees.] 

Miss Davis 
[With professional briskness.] 
Mr Boyd! What is it? 

Mrs Boyd 
Man, dear — Is it your job? 

John Boyd 
[Harshly]. I've got no job! 

' Mrs Boyd 
[Under her breath]. My God! 



Daily Bread 15 

Miss Davis 
Didn't they save the place for you? The}^ promised. I'll call 
them up. 

Mrs Boyd 
John, dear. Speak up. Tell us. Didn't they save the place? 
Tell Miss Davis. She'll fix it. 



She can't. 



John Boyd 



Miss Davis 
I certainly can. I'll go and call up at once. They promised me 
the place. Mr. Sear himself promised. I'll go call him up now 
— at his house. 

John Boyd 
It's not him — it's me! It's me! Do 3'OU hear? I'm no good. 
I'm played out. There's no strength in me! [Lifting his arm]. 
Look at that ! There's no strength in me arm ! Oh, my God ! 

Mrs Boyd 
But, man, man — of course, when you haven't had a decent meal 
in you for weeks — of course not — wait till you get some of this 
stew inside of you. Alice, bring a dish. John, dear, smell it — 
smell the good old Irish stew, with onions, John. Tomorrow 
you'll be a new man — tomorrow you'll show them ! 

John Boyd 
There'll be no tomorrow, I tell you! I'm laid off — laid off— laid 
off at three o'clock this afternoon — because I hadn't the strength 
in me arms to hold a shovel — here's another man in my place — a 
young man. 

Mrs Boyd 
[To Miss Davis.] 
Can't you do something? 

Miss Davis 
We'll do something tomorrow. We'll find something lighter. 
It's heavy work, shoveling wheat — something light till you get 
your strength back again. Now eat Mrs. Boyd's nice supper, 
and tomorrow come to see me. 

John Boyd 
[Turning on her fiercely.] 
What for? [Looking away again hopelessly]. She means well. 



16 Daily Bread 

Miss Davis 

[Trying not to lose her professional composure.] 
Mrs. Boyd, send your husband — [Looks at the hopeless figure 
and drops her confident pose]. Send Billy over Saturday. I 
have a half day's work for him. [Turns abruptly and goes out 
the door.] 

Mrs Schultz 

[Moving slowly after her.]. [At the door.] 
I'll be going to my work in ten minutes or so. [She speaks im- 
personally ^ addressing no one in particular.] 

Mrs Boyd 
Oh, yes. In ten minutes. 

[The family is left alone — three desperately discouraged 
figures.] 

Mrs Boyd 
[Pulling herself together.] 
Now John, dear, sit up to the table — Allie, bring a clean cup — 
and be having some of this nice stew— don't it smell good, John. 
Smell the onion— and there's carrots in it, John— and potatoes — 
and the nice bit of meat, John. Think of that! 

John Boyd 
[Lifting his head.] 
Who's paying for it? 

Mrs Boyd 
Well you see, John, I got credit — I said I'd be paying on Satur- 
day. 

John Boyd 
You said you had a man with a job. You said that you had a 
man that would earn money. Who's going to pay for it now? 

Mrs Boyd 
Well, you see, John, it's like this. Mrs. Schultz, she's been after 
me. You don't know how that woman's been after me — pester- 
ing the life out of me. And it's for Mrs. Atkins, the poor dear 
that's been working with her — and she's laid off, poor thing, ex- 
pecting her baby almost any day now — and it's to save the place 
for her. Think of it, John, the poor woman's been working right 
up to the last week — and it's to save the place, you see, till she's 
strong again — she needs it so bad with her husband in the Works 
and another mouth to be fed. Ain't it nice, John, we've only got 



Daily Bread 17 

three — the average American family. Here John, is your stew. 
Now draw up and eat. Allie bring your Pa his tea. So I gave 
in at last. Yes, I says to Mrs. Schultz, to save the place for her, 
I'll go. So you see it's a gay one I'm going to be — staying out 
till midnight, John. What do you know about that now? It's 
a fine eas}^ place to work, Mrs. Schultz says — all tile floors and 
no trick at all to clean — and good pay — a dollar seventy-five and 
carfare for just one evening — think of that, John. John, dear, 
taste that stew. 

John Boyd 
[Dully]. They turned me off at three o'clock with a dollar and 
a half. 

Mrs Boyd 
And we'll be putting that away with the rent money. With 
what Billy will earn Saturday 'twill help a lot. Allie dear, wrap 
up a clean apron for me? [She fetches a shabby coat and hat.] 

John Boyd 
Where are you going? 

Mrs Boyd 
Why, John, darlin', I have been telling you. I'm going out with 
Mrs. Schultz to the cleaning. [Going behind his chair, she pats 
his arm]. You don't mind, John dear? It's going to be a great 
lark. Me that stays in the house so much ! Think of seeing the 
inside of them big of^ces, John. You don't mind, darling? 

John Boyd 
[Harshly]. It don't matter. Nothing matters. I'm done for. I 
can't support my family. I'm done. I'm old — old. 

Mrs Boyd 

[Taking the paper parcel from Alice.] 
Listen to the man, and him just turned forty! But John, dear, 
that is an old fashioned notion you got. It's all the style now 
for married women to work — it's called being economically inde- 
pendent. I heard about it at the Settlement. Sure, John, you 
want your wife to be up-to-date. John, dear, eat your supper- 
it's getting all cold. 

[Mrs Schultz opens the door — stands waiting.] 

Mrs Boyd 
I'm all ready. [She starts for the door— then looks with loving 



18 Daily Bread 

compassion at her husband]. Oh, the dear man, he's taking it so 
hard. [With a little bird-like flight she kisses him on the 
cheek]. Man, dear. Man, dear. [Turns away]. AlUe, darling, 
coax your pa to eat. Say something to cheer him up. [At the 
door], AlHe, dear, show him your report card! [Nods at the 
happy thought and goes out, closing the door.] 

Alice 
[Looking wistfully at her father, speaks in imitation of 
her mother.] 

Pa, dear. Eat your stew. Don't it smell good — don't the onions 

smell good? 

[He makes no response. She looks discouraged at the 
failure of her first effort. Then she tiptoes over to the 
bureau and takes down her report card. With it clasped 
in her hands she advances slowly — wrung to the heart by 
her father's grief, she flies to him, throws her arms around 
his neck.] 

Alice 

Pa, darlin', don't you take it that way, don't. Next month I can 

get a job, then it'll be all right — [Murmuring, with her cheek 

against his]. It will be all right. 

The man's shoulders sink lower. 

CURTAIN 



A WINDOW TO THE SOUTH 



CHARACTERS : 

Hat 

Lucy 

Charley 

Ma, Mrs Stockman 

Hank 

Pa, Mr Stockman 

Doc Harney 

The Great Specialist 



A WINDOW TO THE SOUTH 



SCENE: 

A farm kitchen in the Middle West. At the right there is a small 
window and a door, screened, opening out onto a porch. At 
the left there is a door leading to the other rooms of the 
house. There is a kitchen range in the left upper corner. 
Near the center of the room the dinner table, covered with a 
red cloth, is partly set, ready for a meal. The hack wall — the 
south wall of the kitchen — is conspicuously blank. The kitchen 
is spotlessly neat, but is dark, lighted as it is by the one 
window. Hat is working at the stove. Lucy is busy at the 
sink. They stand with their backs to the audience. 

Hat 

Look out again, Lucy, and see if Pa's in sight. 

Lucy 
[Turns about and looks at Hat, whose hack is still turned. 
She is about to speak to her, then decides not to — turns 
sharply and goes to the door — with marked emphasis.] 
No ! your Pa is not in sight yet ! 

Hat 
Well, it ain't time for him yet, of course — only I thought he 
might be early. 

Lucy 
And I s'pose when your Pa comes in early he expects dinner to 
be on the table ready for him ! 

Hat 

Oh, yes — of course — and that makes it kind of hard — because Pa 
likes his dinner hot. 

Lucy 
Well, I don't wonder your Mk — [Clips her mouth shut.] 



22 A Window to the South 

Hat 
[Banging the oven door and turning about, mopping her 
face with her apron.] 
What'd you say, Lucy? 

Lucy 
Nothing. 

Hat 
It's awful hot. 

Lucy 
It's a hot day to be baking biscuits. 

Hat 
Yes, but the bread give out last night and there wasn't time to 
bake a batch before dinner. 

Lucy 
Hank went into town in the auto last night after binder twine — 
why didn't he bring out a couple of loaves? 

Hat 

Bakers' bread! Pa never eats it — besides, buy bread? 

Lucy 
Yes, buy bread ! I should say so — weather like this ! Ma never 
bakes any more in summer time — she says it doesn't pay for just 
two of 'em — so Pa brings out the bread in the morning when he 
drives in with the cream. 

Hat 
[With mingled scorn and wistfulness.] 
Your ma's always had it awful easy — but then I guess maybe 
that's why your Pa ain't ever got on — 

Lucy 

[With rising anger.] 
Got on ! Got on ! Well, I'd like to know where all your getting 
on's ever got you to ! 

Hat 
Ever got us to? Ain't Pa the biggest landowner in the county? 
Ain't he got the biggest barn? You just watch people driving 
by and see if they don't stop and point to it — 'That's the biggest 
barn in Simpson County' they say. And ain't Pa giving all the 
boys a fine start? When Joe got married, didn't Pa start him 
out on three hundred acres, all under cultivation — and when 



A Window to the South 23 

Hank get's married — [She stops and looks meaningly at Lucy — 
but Lucy keeps her back turned, very much occupied with her 
work. Hat takes another look into the oven.] 

Lucy 
[Over her shoulder.] 
Yes — how about when Hank gets married? 

Hat 
Nothing— only I guess the girl that gets Hank will have it 
mighty lucky. 

Lucy 
How do you mean — lucky? 

Hat 
Well, I'll tell you Lucy — it ain't generally known — but when Pa 
was away last Fall, he bought up a lot of wild land in the 
northern part of the state — couple of thousand of acres or so — 
and he's thinking of starting Hank up there — 

Lucy 
Up there! On wild land to be cleared! And the girl will be 
lucky I 

Hat 
Yes — this was all wild land when Pa and Ma took it up — you 
wouldn't think it now, would you, by the looks of things? 

Lucy 
[Muttering to herself.] 
Yes you would — by the looks of your Ma. 

Hat 

What'd you say, Lucy? Them biscuits is almost done — and Pa 
not in sight yet. Tst ! Tst ! That's the worst of biscuits. 

Lucy 
[Throwing down her paring knife.] 
Oh, for heaven's sake, Hat take the biscuits out and let them get 
cold! And let us go out and sit on the porch till the men come 
in! 

Hat 

Oh, but Lucy, — we can't— and we got to get them apples ready 
for pickling, so's they can be cooking on top while the bread's 



24 A Window to the South 

baking— 'twon't do to let the fire go to waste— besides, the apples 
won't keep another day. Here, I'll get another knife and help 
you. 

Lucy 

[Holding up a knotty, wormy apple.] 
S'pose they did go to waste! Windfalls! 

Hat 

Yes, of course they're windfalls — they won't sell, so we have to 
put 'em up. Ma's always been a great one to put up apple butter 
and things — but she's not feeling well this Fall — you folks done 
much canning this season? 

Lucy 

Yes, Ma put up a crate of peaches. 

Hat 

Peaches? Did you buy peaches to put up? 

Lucy 
Yes — peaches! Ma likes 'em, so Pa bought' em for her! 

Hat 
Tst ! Tst ! No wonder you never got on ! 

Lucy 
Got on! Got on! Didn't I ask you where getting on ever got 
you to? 

Hat 
But I told you— 

Lucy 

Yes you told me about your Pa's barn — and what he could do 
for the boys — but what's getting on ever done for you and your. 
Ma? 

Hat 

Why — why — I don't know, Ma and I — well, anyway, I never had 
no call to go out to work! 

Lucy 

You never had no call -to go out to work! No, I guess no 
woman on this farm would ever have any call to go out to work ! 
Hat, I'll tell you something — it's the luckiest thing that ever 
happened to me that I came over here to help out this harvest. 



A Window to the South 25 

Hat 

Lucky? Why, Lucy? 

Lucy 
Oh — because ! 

Hat 
[Takes another peek at the screen door — then goes to the 
window.] 
I don't know what you mean, Lucy. 

Lucy 
How long has your Ma Uved here. Hat? 

Hat 

Why, ever since she's been married, I guess — Let's see, Joe's 
twenty-seven — twenty-eight years, I suppose — 

Lucy 
An I s'pose for twenty-eight years — 365 days a year — three meals 
a day, your Ma has had to peek out of that little west window 
to see if your Pa was coming in ! 

Hat 
What made you say that, Lucy? About the window? [She 
comes over and sits near Lucy]. Have you heard anything? 
Has Ma been saying anything? 

Lucy 
[Puzzled.] 
What about. Hat? 

Hat 
About the window — that's what it was put there for — on the west 
side — so's it would face the barns — Ma wanted a window on the 
other side, there to the South — so's more light would come in — 
but Pa thought a window ought to be on the barn side — and Ma 
used to want another one cut in — over there — that was a long 
time ago, you know — when they were first married — and when 
we were all small — I can just remember — Ma wasn't feeling well 
that summer — Charley was born soon after harvest — and that 
was the last time we've had a hired girl till now, come to think 
of it ! And Ma she used to brood, kind of, about that window — ■ 
and Pa he promised to put it in after thrashing — and for some 
reason it didn't get done — Oh, I know — cold weather came on 



26 A Window to the South 

early that year and Pa said he couldn't have the whole side of 
the kitchen torn out in cold weather — and after that Ma never 
said no more about it, and every body forgot it — but now lately, 
since she ain't been feeling like herself, Ma's took to talking 
about it again. Ain't that queer? At least she said something 
to Charley — Ma sometimes talks more to Charley. 
[There is a step outside.] 

Hat 

[Springing up.] 
Good Lord — and dinner not on! [With relief]. Oh, it's only 
Charley. 

[Enter Charley. He is a slight, fair-haired boy.] 

Hat 

Lordy, Charley, you scared me! I thought it was Pa or Hank. 

Charley 
No, it's only me. [Hanging up his hat]. H you haven't dinner 
ready, it don't matter, bring on anything you've got. 

Hat 

[Ruefully.] 
I'm afraid you'll get the best of the biscuits, Charley. They're 
just right now. Are Pa and Hank going to be late? 

Charley 
Yes, Pa sent me in ahead, so's I could come back and take the 
binder. Darn the man that invented motor-driven machinery, I 
say. [He smiles shyly at Lucy]. No rest for the weary any 
more — we used to lay off at noon for the sake of the horses. 

Hat 
Well, here you are, anyway — eat and be quick about it, if Pa's 
waiting. It's a wonder you wouldn't speak to Lucy. 

Charley 
[Shyly.] 
Hello, Lucy. 

Lucy 
[Smiling.] 
Hello, Charley. ^ 



A Window to the South 27 

Hat 

No wonder you never get along with the girls ! 

Charley 
[Amused.] 
No wonder. Where's Ma? 

Hat 
I don't know Charley. I don't know what's come over Ma. She 
ain't been near the kitchen this morning. 

Lucy 

She's out in the front — or she was a half hour ago — fussing 
over that little patch of flowers. 

Charley 
Call her in, Hat. Has she had any dinner? I'll go and see. 

Hat 

Oh set down and eat, Charley — if Pa wants you back, you'll have 
to go. I'll go out and see to Ma. 

Lucy 

It's queer your Ma planting a flower garden this year — you never 
had one before. 

Hat 
Oh that was Charley's work — he spaded it up and fixed it for 
her. 

Lucy 
Oh, did you do it, Charley? [There is respect in her voice — she 
appears to be regarding Charley with nezv interest.] 

Charley 
She seemed to hanker for it — Ma hasn't been well. 

Hat 

Lucy, didn't we ever tell you that queer thing about Ma? 

Charley 
Don't, Hat. 

Hat 
Oh, it's all right, just to Lucy. You know last Spring Ma put in 



28 A Window to the South 

the garden like she always does — and Charley was busy with the 
spring plowing and didn't have time to help her — and when 
things began coming up there was flower seed all scattered 
around among the vegetables ! I found the empty seed packets 
that she'd hid— hollyhock and zinnia and petunia ! Just think ! 
Pa had Hank plow it out and put in late cabbages — and then 
Charley spaded up that little corner for her — and Doc Harney 
advised Pa not to interfere but let her do what she wants till 
she feels better again. Her stummick seems all upset — she don't 
relish her food. 

Charley 
Don't talk, Hat — go out and see where she is — or I'll go — I've 
had all I want. 

Hat 
No, I'll go. 

[Mrs. Stockman comes in thru the screen door.] 

Charley 
Oh, there she is — well. Ma — [Starts up from his chair.] 

[Mrs. Stockman drifts aimlessly across the room, taking no 
notice of any one. She stops and looks at the blank wall — • 
puts her hand to her head nervously — sinks into the chaif 
that Charley pulls out for her at the table.] 

Charley 
You're just in time to have some dinner with me, Ma. 

Mrs Stockman 
[Listlessly.] 
I don't seem to want anything. What you got for dinner, Hat? 
Has your Pa come in yet? 

Hat 

No, he's coming later. Set up and eat Ma. We got potatoes 
and salt pork and biscuits — the bread give out. 

Mrs Stockman 
I suppose I should have baked a batch — I don't seem able to re- 
member — 

Hat 
I'm going to bake this afternoon — do set up and eat. Ma. 



A Window to the South 29 

Charley 
Do come on, Ma, have some dinner with us. 

Mrs Stockman 
[Irritably.] 
I don't want any — 

Hat 
But you're never going to get your strength back, Ma, if you 
don't eat. 

Mrs Stockman 

But I don't want anything — seems as if I couldn't — nothing has 
any taste any more. 

Hat 
Ma, Lucy and I picked up the windfalls yesterday — we thought 
we'd do 'em up into pickles — do you think that would be nice? 
Or maybe apple butter — which do you think? 

Mrs Stockman 
I don't know — I don't care — throw 'em out if you want. 

Hat 
Why, Ma ! 

Mrs Stockman 
Has your Pa had his dinner? 

Charley 
[Quickly.] 
No Ma, he's coming in soon's I go back. 

Hat 

You better be going, too, Charley. 

Mrs Stockman 
This kitchen seems awfully hot — some way I don't seem able to 
stand the heat^guess I'll go lie down. 

Hat 
Yes, do. Ma. And after a while I'll fix you a cup of tea and 
toast you a piece of bread. Shall I ? 

Mrs Stockman 
[Crossing the room.] 



30 A Window to the South 

No, thank you, Harriet. I don't think I care for anything. [She 

leaves by the door at the left.] 

[Charley sits staring at his plate. Lucy who has kept in 
the background, looks curiously from Hat to Charley.] 

Hat 
[Explosively.] 
Did you hear that? It's the second time lately — and she ain't 
called me that since I was a little girl — she always used to call 
me Harriet then — till Pa and Joe and everybody took to saying 
Hat. Don't you think it queer? [Quickly changing her tone.] 
But Ma ain't been feeling well — you can see how it is — she won't 
eat. 

Charley 

Go in and see if she's comfortable, Hat. 

Hat 
Well, all right — but I wish she'd eat. Lucy, keep a watch for Pa 
and Hank, will you? [Hat follozvs her mother.] 

[Charley still sits looking at his plate. Lucy looks at 
Charley.] 

Charley 

[Suddenly — speaking with great earnestness.] 
Lucy! You're a stranger — you're outside the family — what do 
you think about Ma? 

Lucy 

[Slowly — choosing her words.] 
Well — I think your Ma's all tired out— and run down, Charley. 
And she's always worked hard — and this kitchen is hot — and — not 
very pleasant — Charley, what about the window? 

Charley 
[Startled.] 
The window? Has she said anything to you? 

Lucy 
No, she hasn't— said anything. But, Hat was just telling me— 
[She stops and looks at the blank wall] 

Charley 
Yes, she used to want it, they say — I don't remember— and lately 
she's begun to talk about it— Lucy, [in agony] tell me honestly — 
have you noticed anything queer about Ma? 



A Window to the South 31 

Lucy 
Charley, I'll tell you just one thing — I didn't understand it till 
after what Hat told me — I came in here one day — and your Ma 
was here alone — and she was standing looking at that wall, 
Charley — just looking at it — and still not seeming to look at it 
either — but through it — as though she was seeing way off down 
the valley the way you can from that side of the house— and 
when she turned around she was smiling — and that seemed 
strange in your Ma, you know — and she seemed like she was 
talking to herself — and then she went out of the room and didn't 
seem to see me at all — and I was right there close. 

[Charley's head has sunk down into his hands — he gets up 

suddenly.] 

Charley 
Damn it all ! Damn the whole thing ! It's enough to drive any- 
body — [He stops short on the word he won't say.] Work — work 
— work ! Man, woman and beast — no rest for anybody but the 
horses — [With a wry smile] and now with tractors not that — all 
to get on — to get on! And where do they get to? Them that's 
built for it can stand it. But there's some that can't — and I 
can't and I won't. [Calming down.] Don't you tell anybody, 
Lucy, but I'm going to quit it. 

Lucy 
You going to the city, Charley? 

Charley 

No, I'd be no good in the city. I don't mean I want to quit 
farming— I like farming — but I want to do it in my own way- 
Ma wanting that little patch of flowers showed me what's the 
matter with me — I'm going to get a little patch of ground some- 
where — did you ever hear of a book called "Three Acres and 
Liberty"? I got it from the library in town — "That's the idea," 
I says to myself — five hundred acres — or three hundred acres is 
slavery — but about forty acres or sixty would be liberty — just a 
nice little piece of land somewhere where I can tickle the ground 
and make it grow — and a few cows — and pigs — 

Lucy 
[Laughing.] 
And you batching it all by your lonesome — oh, Charley ! 



32 A Window to the South 

Charley 
[Seriously.] 
No, Lucy, that's the best part of my scheme— I'm going to take 
Ma with me— I think she'd Hke it— and Hat can manage here. 

Lucy 

[Earnestly.] 
You're a good boy, Charley. I guess you've always been pretty 
good to your Ma. 

Charley 

No, I haven't, Lucy — I've been just like the rest of them — I 
thought she liked to work — and I let her do it and never made 
it easier. And I thought I was different from the rest because 
I liked to read and know what's going on, and now I know that 
she does too, — only she never had the time. And she likes flow- 
ers and pretty things — only she never had the time. 

[Unseen by the others Hank enters by the screen door — he 
humorously tickles the back of Lucy's neck. Lucy squirms, 
ducks and slips away when he makes a feint to catch her. 
She throws Hank a look that may mean detestation and 
again may mean admiration, for Hank is handsome in a 
brutal, hulking sort of way.] 

Hank 
Got one on you that time. Luce! Where's Hat? Rustle me some 
dinner somebody. [Throws his hat on a chair, drops into a 
place at the table, spears a biscuit with his fork.] Hustle back 
to work, kid, the old man's waiting. 

[Charley has taken down his hat, but he lingers. He seems 
to want to say something.] 

Hank 
Well, Luce! We going to that dance Saturday night? 

Lucy 

Don't call me that! 

Hank 
Huh? What? 

Lucy 
Luce! If you speafe to me at all, use my name. 

Hank 
[With a big laugh.] 



A Window to the South 33 

Little bit huffy, ain't you? All right, Lu-cee — will you honor me 
with a cup of caw-fee? 

[Lucy brings it — Hank makes a rough snatch at her hand — 
Lucy evades hi?n.] 

Hank 
Well, you ain't answered my question yet. We going to that 
dance ? 

Lucy 
It's too hot to dance — and I think I'll go over home and see the 
folks. 

Hank 
Oh, you will, will you? Seem to have been changing your mind. 
And how'll you get there — it's a long walk. 

Lucy 
[A challenging eye on Charley.] 
Charley's going to drive me over. 
[Charley grins.] 

Hank 
Oh, he is, is he? I have first claim on the machine. 

Charley 
[Laughing.] 
Oh, that's all right. I still prefer Old Prince. I get enough of 
motors driving the darn tractor. 

Lucy 

Besides, Charley's promised to take me around by the bluff road 
where a machine couldn't go. 

Charley 
[Playing up.] 
Yes, Lucy was just saying she wanted to get that view from the 
top. 

Hank 
Well, we'll see what we'll see ! Get back to your work, kid ! 

Hat 

[Entering — seats herself disconsolately.] 
I don't know what to think! She don't take no interest in any- 
thing — why, she don't take no interest in the work ! I ast her 
just now what she thought we'd better plan on for thrashers 



34 A Window to the South 

this year, and she said she didn't care whether they had any- 
thing or not ! She said she didn't care ! 

Hank 
Who's that — Ma? Ah, she'll be all right when she picks up a bit 
and get's her appetite back. Say, kid, if you don't get back to 
your machine — 

Charley 
I'm going — but there's something I want to say to you folks first 
— I went to see Doc Harney last night. 

Hat 
Did he give you anything for Ma to take? 

Hank 
If Doc Harney knew his business he'd give her something before 
this that would have set her up. 

Charley 
He said medicine wouldn't help — but he's coming out to see her 
— maybe today — and he's bringing another doctor with him — a 
great specialist. 

Hat 
Why Ma ain't so bad as that — she don't need no operation or 
anything ! 

Hank 
Stummick — that's what it is — if she'd only eat. 

Lucy 
What kind of a specialist, Charley? 

Charley 
[Bringing the word out carefully.] 
Doc Harney called him an alienist. 

[Only Lucy takes in the meaning of the word.] 

Hank 
What kind is that, a stummick speciaUst? That's what Ma 
needs. 

Charley 
[To Lucy.] 



A Window to the South 35 

Call me, Lucy, will you, if Doc telephones? Give the dinner bell 
a couple of taps. 

Lucy 
I will, Charley. [Charley goes out.] 

Hank 
Well, Lu-cee, so you think it's too hot to dance? You ain't 
thought that any other Saturday night this summer. [He holds 
his cup out — she takes it.] 

Lucy 
[Pouring the coffee.] 
Well, maybe I hadn't been working so hard. 

Hank 

[Guffawing.] 
Working ! You girls make me tired — two of you — I'm darned if 
I know what you do with yourselves all day. You don't even 
have to carry in your water. 

Lucy 
[Spitefully.] 
That's one thing I can't understand about this place how you 
come to have running water in the kitchen. 

Hat 

Well Pa figured it wouldn't cost very much more after he got it 
piped into the barn. 

[Enter Pa — Mr Stockman — he goes straight to the tele- 
phone — he is a short, stocky man, with an intent "set" ex- 
pression — he rings vigorously and takes down the re- 
ceiver.] 

Mr Stockman 
[Over his shoulder.] 
Schofield ain't telephoned? 

Hat 
No, Pa. 

Mr Stockman 
[Telephoning.] 
Hello — hello, is that you Schofield? — Well, what about the 
binder twine? Huh? Well, My God, man, what do you expect? 
Do 3^ou think I can wait a week? — I sent a man in last night — 
You said you'd send it out parcels post this morning! Huh? 
Well, see here now — if it comes this afternoon you phone me — 



36 A Window to the South 

well, next year I'll get all my binder twine from Sears-Roe- 
buck! You hear? [Slams up the receiver.] 

Hank 

That's what's the matter with him, Pa. He knows you ordered 
your supply from Chicago direct, and now you're running short 
he won't accommodate you. 

Mr Stockman 
Next Spring, I'll show him! He won't get any of my trade. 
What's he there for but to accommodate! Better be getting 
back. Hank. There's a machine idle. 

[Hat in the meantime is efficiently waiting on her father, 
bringing him fresh biscuits, while Lucy pours his coffee. 
Telephone rings.] 

Mr Stockman 
There! See if that's Schofield. 

Hank 
'Twasn't our ring— that was Delmar's— two longs and a short. 

Lucy 
[Breathlessly.] 
No, it wasn't — 'Twas a short a long and a short. 

Hat 
Doc Harney, I'll bet. [Answering the phone.] Hello — yes — Oh, 
yes. Doc. 

[Mr. Stockman, who has been listening, resumes his 
dinner.] 

Hat 
Yes, Doc, that's what Charley said — yes, all right— but not tell 
her, you say? — All right — Good bye. [Hangs up.] 

Hank 

Doc's coming out, is he? Well that's good. Time he was doing 
something. Well, so long Luce — Lu-cee. [Exit.] 

Hat 

Pa, Doc Harney's coming out to see, Ma. 



A Window to the South 37 

Mr Stockman 
That so? I thought Charley went to see him to get some med- 
icine for her, 

[Hat sits down at the table facing her father.] 

Hat 

Doc didn't seem to think medicine would help her. Pa, he's 
bringing another doctor out to see her — a great specialist. 

Mr Stockman 
What's that? Who told him to, I'd like to know. 

Hat 

Nobody, Pa. He just did it himself — you know how Doc 
Harney is. 

Mr Stockman 
Well, then, by George, he can foot the specialist's bill. [Dis- 
turbed.] He don't really think there's anything wrong with Ma 
does he? 

Hat 
Well, Doc didn't seem to think there was anything much he could 
do for her himself. He says she's run down — overworked. 

Mr Stockman 
Why, your Ma ain't overworked — she ain't done much of any- 
thing since haying — and now since she ain't been feeling just 
right she ain't done nothing at all — and didn't I get her a hired 
girl? What more does he expect? 

[Lucy, at this reference to herself, blows an impudent kiss 
toward the back of his head and goes out doors.] 

Hat 

But Doc seems to think Ma needs a change and a rest or some- 
thing. He said we ought to humor her — like letting her fuss 
around that little flower bed. 

Mr Stockman 
But your Ma's always been humored — I never interfered with 
her work— and she ain't never had to help in the field — she's 
only had her housework. Why, she ain't even had to milk since 
the boys got big enough! 



38 A Window to the South 

Hat 

I know, Pa, Ma ain't had it hard hke some women. 

Mr Stockman 
What's this here specialist coming out for? [Alarmed.] Your 
Ma don't need no operation, does she? 

Hat 
No, not's I know of — and I forget just what Charley did call 
the man — some word Doc used — Hank thought it must mean a 
stummick specialist. 

Mr Stockman 
Well, I guess that's what your Ma needs all right. Her ap- 
petite's been gone for some time. 

Hat 

I know, Pa. And then too, she seems to be kind of low in her 
mind — kind of brooding — and she seems to be thinking about 
that window. 

Mr Stockman 
Window ? 

Hat 

Yes, that window she wanted cut in over there — a long time ago. 

Mr Stockman 
[Turning to look at the wall.} 
But — why — why — your Ma ain't thought about that — why she 
ain't thought about that — why she's forgotten all about that these 
twenty years back — she ain't got that on her mind now ! 

Hat 

Yes, she does seem to have, Pa. It seems kind of to have come 
back to her. 

Mr Stockman 
But, My God, she ain't said anything about that since the year I 
bought that north eighty — Charley was born that fall, I re- 
member. 

Hat 
She seems to have it on her mind, though. 

Mr Stockman 
[Defensively.] 



A Window to the South 39 

But I couldn't do it that year — I didn't have any help — and it 
was harvest — and then fall come on so early — and anyway, she 
forgot all about it afterwards. 

Hat 

Well. I guess when she gets to feeling better again and her 
appetite picks up, she'll stop fussing about it. [Rising.] Doc 
said he was starting and would be out in about half an hour — I 
guess I'll just go and see how Ma is — Doc said not to tell her, 
but maybe I could just get her to brush up her hair. You got 
everything you want. Pa? 



Yes. 



Mr Stockman 
[Shortly.] 

[He pushes back his plate, and after Hat has gone, he sits 
staring dumbly before him — then he turns and looks at 
the blank wall — he stares at it — and rises, pushes his chair 
back, and goes over to the wall — surveys it — tries it with 
his knuckles, sounding out the joists — stands off again and 
surveys it — then measures off a space between his hands — 
picks up his hat and goes out.] 

[Mrs. Stockman enters by the other door. As before she 
has the air of drifting about aimlessly. She stands and 
looks at the wall as her husband has done — then she sinks 
forlornly into a chair, brushing her hand across her eyes. 
Hat bustles into the room. ] 

Hat 

Now, here, Ma, I thought maybe you'd like to put on this clean 
white apron. 

Mrs Stockman 
But, why, Harriet? 

Hat 
Ma, what makes you call me that? 

Mrs Stockman 
Call you what, Harriet? 

Hat 
That ! Everybody's called me Hat for' so long. 

Mrs Stockman 
[Absently.] 



40 A Window to the South 

Harriet— Henry— Charles. [With distaste.] Hat— Hank- 
Charley— [M^dt7ahV^/y.] Charley's kind of nice, tho. [Pulling 
herself together.] What were you saying, Hat? 

Hat 

[With a queer look at her mother.] 
Nothing, Ma, just that I thought you'd feel better if you were 
fussed up a little bit. Here put this white apron on. 

Mrs Stockman 
Oh, all right, if you want. I suppose these things got to be 
picked up. [Nodding distastefully at the table.] 

Hat 

Oh, that's all right. Ma. I'll do that in a jiffy. [Begins to rattle 
the dishes together — carries them to the sink — looking out of the 
window at times.] 

Mrs Stockman 
[Listlessly.] 
Has your Pa had his dinner? 

Hat 

Yes, Ma, they've all et and gone. 

[An auto horn sounds outside — Hat snatches off the cloth 
and pushes the table back — she makes little jabs at chairs, 
etc. Enter Charley, holding the door open for Doc ' 
Harney and the Great Specialist.] 

Charley 
Here's Doc Harney come to see you. Ma. 

[Lucy slips into the room after them.] 

[Doc Harney is a country doctor bordering on middle age. 
He is careless in his dress, good natured, kind, homely, 
dependable. He has the tenderness that comes to a man 
zvho has brought many children into the world in lonely 
farmhouses and eased many tired women out of it — and 
ivith it the assurance of a man who is used to being 
obeyed. 

[The Great Specialist is a young man — not tall — but firmset 
and straight, — a strong, sensitive face— immaculate in 
dress and person,— with an air of trim distinction that 
contrasts with Doc Harney's disregard in -such matters.] 



A Window to the South 41 

Doc Harney 
Well, Mrs Stockman, how goes it? How are you. Hat? [nod- 
ding to her.] How's your mother been behaving? [All the 
while shaking hands with Mrs. Stockman, who is limp and in- 
different.] 

Mrs Stockman 
Oh, I don't know as I'm any different. Doctor — trouble seems to 
be there's nothing the matter with me. 

Doc Harney 
And here's a friend of mine, Mrs. Stockman, come down to 
spend a few days — I'm showing him the country — Mrs. Stock- 
man, — Dr. Sedgwick. 

Mrs Stockman 
[Somewhat shyly.] 
How do you do. I'm pleased to meet you. 

The Great Specialist 
[Taking her hand.] 
And it's very beautiful country, Mrs. Stockman, You are 
fortunate to live in it. 

Mrs Stockman 
[Uncertainly.] 
It is pretty — yes — it is pretty — if you happen to like it — I'm 
prairie born myself, and I like open country — still this is pretty — 
where you can look down the valley. 

The Great Specialist 
Yes, you mean the view from the turn of the road — just back 
aways — I noticed that — you look off down the valley— with the 
hills like big gate posts. 

Mrs Stockman 
[Eagerly.] 
Yes, that's what I mean ! Down that way to the South — you 
can see so far — when I first came here to live and was homesick 
— and felt so shut in — I used to go outside and look and look — 
and it'd seem's if I was looking all the way down towards 
home — as if through a gate — like you said — opening out on the 
prairie — that's the view we get from our South window, you 
see! 



42 A Window to the South 

[She is standing with her hack to the blank wall. At this 
astounding statement the others turn involuntarily to look 
at it. 

The Great Specialist 
{Gravely. 1 
Oh, yes — from your South window. 

Mrs Stockman 
Yes, that's why we had the window cut in — for that and to get 
the sunhght. Sit down, doctor. Here, sit where you can face it. 
[He takes the chair she offers, facing the wall. She sits opposite. 
The others group themselves in the background. A curious 
change has come over Mrs. Stockman. She is interested, eager, 
alert.] 

The Great Specialist 
So you're from the prairies — tell me about it. 

Mrs Stockman 
Yes, I was born in Illinois — then when I was about ten, our 
folks moved to Iowa. — And then Pa thought he'd try Nebraska — 
and afterwards he went down to Oklahoma — and finally he came 
back to Illinois — and then I met Mr. Stockman and came up 
here to live — it was awfully different, you see — with hills all 
around. 

The Great Specialist 
Queer, isn't it — hill-born people find it lonesome on the prairies, 

Mrs Stockman 
Isn't it queer? Joseph, my oldest son, once thought of locating 
in North Dakota — but he couldn't stand it there — just couldn't 
stand it ! It was so lonesome. He said there was nothing to 
see! Why I say there's nothing to do but see! [With a little 
laugh.] It is queer, isn't it? 

The Great Specialist 
Isn't it? But you learned to like them after a while — the hills, 
didn't you? 

Mrs Stockman 
Yes — I s'pose I did — in a way. Anjr^ay, I just told myself I 
had to like them. I'll never forget the day we drove up here — 
the railroad wasn't in then and we had to drive forty miles — and 
I kept saying to myself : Isn't it pretty country ! How pretty 



A Window to the South 43 

the hills are — how soft and green the trees look on the slopes 
—almost as if you could lie down on the tops of them like on a 
bed ! What fun it's going to be climbing up the rocks ! And 
all the time I seemed to feel them closing in, closing in around 
me ! And all the while Mr Stockman — my husband, we were 
just married — kept pointing out how rich the soil was in the 
valley bottoms — and I kept saying, Yes ! Yes ! And thinking to 
myself it was going to be wonderful to live here — and when we 
come to that turn in the road you spoke of and looked back, it 
really seemed true ! And I said : Why this isn't so bad — this is 
beautiful ! And then we came on into the house — into this 
kitchen [with a gesture.] Shut in! I just wanted to sit down 
in the middle of it — and cry — and me just married too and going 
to be so awfully happy ! But there was only the one window 
then — the one over there — and the room was dark — and even 
when I looked out of the window, there I was smack up against 
the hill ! Nothing at all to see ! And then after a time my hus- 
band built the big barn and I couldn't see the hill — nothing but 
the red barn ! Why, honestly, doctor, would you believe me, 
there were times when I thought I'd go crazy! Especially when 
the children were little — I remember that summer before Charley 
was born — that was a hard summer — my husband was awfully 
busy — [She has begun to brood again.] 

The Great Specialist 
And then afterwards? 

Mrs Stockman 
Oh yes, afterwards — afterwards we did get the window cut in 
of course — but it was a long time. Once my husband told me 
he had a surprise for me — he was going to have something done 
to the house — workmen were coming out from town. And I 
said to myself : The window ! At last the window — with the sun 
pouring in! And do you know what it was? It was the sink — 
with water piped into the house ! Of course that was* all right — 
and awfully nice and there's a lot of farms don't have it, and it 
does make the work easier — but I didn't mind the work! I 
wouldn't 'a cared how much work there was — I would 'a gone 
without a kitchen sink forever if I could have just had a little 
sunlight! [Dropping her voice.] Doctor! I'm going to tell you 
something, I ain't ever told anybody before — There were times, 
before we had the window, when I used to think it was there ! 
When it wasn't ! It wasn't there at all ! — only that awful wall ! 
I'd dream about it — and I'd think about it when I was in the 



44 A Window to the South 

other parts of the house, making up beds or sweeping — I'd think 
about a south window in the kitchen, and how bright and pleas- 
ant it would be — and how I'd have white curtains and flowers in 
the winter — red geraniums in bloom— and a Christmas cactus 
like we used to have at home — and a fuchsia — the only window 
in this house that's fit for plants is in the spare room where it's 
too cold — Well, I used to think that so hard and imagine about 
it in my mind until I'd believe it ! Then I'd come out here — and 
it wouldn't be so ! And it would be just like a shock to me — and 
I couldn't beheve it. And there's been times when I've gone up 
to that wall and hit it with my fist — and then I'd say to myself : 
Now, don't be so foolish — anybody'd think you were going 
crazy! And then after a while I'd get to imagining again — 
about the geraniums and the white curtains and the view down 
the valley. I always set my jelly glasses there in the sun — they 
look so pretty with the sunlight shining through them — don't you 
think so? A long row of them across the window sill — [Turning 
in her chair as she speaks.] Oh! Oh! [Rising uncertainly.] 
What have I been saying? What — it isn't there — it isn't there at 
all — and it was all so pretty with the jelly glasses — Oh — [With 
an inarticulate moan she covers her face with her hands — 
shaken with sobs.] 

[Hat would go to her mother, but Doc Harney restrains 
her. Lucy has slipped her hand into Charley's. 
[The Great Specialist steps up to the broken woman — very 
gently and surely he draws her hands away from her eyes. 
She looks up into his face piteously.] 

[Just at this moment Mr. Stockman enters, the screen door 
slamming behind him. He carries a T-square and a small 
kit of carpenter's tools. He starts at sight of the group, 
brings himself up sharply and stands looking helplessly at 
the tableau — for the moment his is the most tragic figure 
among them.] 

CURTAIN 



THE LEAN YEARS 



CHARACTERS : 
Thomas B. Carson 
Elizabeth Carson 
Letty 
Ralph 



THE LEAN YEARS 



SCENE 



The front porch of a prosperous farm house, somewhere west 
of the Mississippi. Ordinary articles of porch furniture are 
all the stage properties required. 

TIME: 

The time of the play is the present, but at an important point in 
the action the curtain will descend suddenly and the scene 
will "cut-back," as they say in the Movies, to the eightcen- 
nineties. 

As the curtain goes up, Thomas B. Carson is discovered sitting 
in one of the comfortable porch chairs. He is holding a paper 
which he has been reading. Mrs. Carson sits near him with 
some darning in her lap. Letty lolls in a hammock at the 
end of the porch. Ralph is pa^cing up and down, his hands 
in the pockets of his white flannel trousers. Ralph is a good 
looking young man, ruddy and robust but a little inclined to 
be dressy. Thomas B. Carson is looking at his son with a 
twinkle in his eye. 

Ralph 

{Continuing a discourse^ 
I'm sick of it! All the fellows are making fun of me— riding 
'round in that little tin Lizzie ! 'Say,' Bill Nelson says to me the 
other night in town, 'Heard the last joke about a Ford?' 'No,' 
I says, biting like a sucker. 'No,' he says, 'and you won't hear 
the last one for some time to come!' Gosh! And the fellows 
yelled ! Just because I have to drive that darn little mosquito 
while all the rest of the bunch have decent cars!_ Makes me sick! 

{His father grins; his mother looks worried.] 

Letty 
{Impetuously, sitting up in the hammock.] 
'Tisn't as if we couldn't afford it. If the Nelsons can have a 
Packard and the Andersons a Hudson, and the Shanes— 



48 The Lean Years 

T. B. Carson 

[Chuckling.] 
Old Jim Shane comes 'round to me last fall with a long face — 
wants his note renewed. 'You know,' he says, 'that hail storm 
last summer pretty near did for my corn — and wheat taking the 
slump it did hit me hard — and anyway wheat raising ain't what 
it used to be,' he says. And I, of course, easy mark that I am, 
I says, 'Well, Jim, I guess that's all right — let it run till you're 
good and ready.' Kind o' pleased with myself, you know, doing 
an old neighbor a good turn — felt pleased about it all winter, 
thinking Jim's mind would be easy. And, by jinks, here this 
spring, out come the young Shanes in a new six-cylinder buzz- 
wagon ! No, son, I guess you can rattle around in the Ford 
awhile longer. We ain't going out of our way to advertise that 
we're in the Cadillac class. 

Ralph 
Oh, Gosh, Dad! 

Mrs. Carson 

[Soothingly.] 
Now, Ralph, your father knows best. Besides, you young people 
have all the luxuries now that are good for you. And with 
Letty going away to study music it will be all the expense — 

Letty 
[Eagerly.] 
That's just it. That's why I am so keen on Ralph's having his 
new car. Now that I'm going to Chicago at last — to have what 
I've dreamed of all my life — and Ralph is to stay here on the 
farm — 

T. B. Carson 
Humph ! Not to mention that Ralph is rather a lucky youngster 
to have a farm like this to stay on ! 

Letty 
Oh, yes, of course, I understand that. Ralph is lucky — in a way. 
This is a good farm — not quite like starting out all new for him- 
self. 

T. B. Carson 
[Sarcastically.] 
Not quite! 

Letty 
[Continuing.] 
And if Ralph wants to follow farming as a profession, it's all 



The Lean Years 49 

right — still, it isn't like going out into the world. If young people 
are to stay on the farm these days there must be compensations 
— and provision for recreation. [She speaks with something of 
the air of one who is quoting things heard or read.] 

Ralph 
Oh, Gosh, Sis. I'm not asking anybody to pity me ! All I'm 
asking — 

T. B. Carson 
All you're asking is to be allowed to cut more of a dash along 
the highway than the other young chaps. 

Ralph 
Well, and what of it? Why shouldn't I have a good time? 
Darn it all, there's something in what Sis says. She has a good 
time, going off to Chicago with nothing to do but rattle the 
piano for a few hours a day! 

Letty 
Ralph ! I wish you wouldn't speak that way. You don't at all 
understand what my music means to me. 

Mrs. Carson 
That's all right, Letty. That's just Ralph's way of talking. 

Letty 
[Making a face at Ralph.] 
Old smarty! He thinks it annoys me! [Ralph grins.] You 
don't think I'm selfish, do you, mother? 

Mrs. Carson 
[Gently.] 
Why, no, Letty, not that. You know, how, I've always wanted 
you to do well with your music, only — 

Letty 
[As tho justifying herself.] 
It isn't as if I would be throwing my time away. All my teach- 
ers have said that I have — talent. I don't know why I shouldn't 
say it! It isn't that I'm conceited, I just know that, with the 
right chance I can make something of myself. I know you don't 
understand — 



50 The Lean Years 

Mrs. Carson 
Perhaps we understand. 

Letty 
I don't mean that you aren't sympathetic — but plodding along 
the way you have on the farm — and always contented with just 
that — you wouldn't understand this — this feeling I have that I 
must go on and make something of my life — that I must go for- 
ward — against all odds ! 

T. B. Carson 
Well, I shouldn't wonder if your mother'd gone ahead against 
a few odds in her day, too. She's going ahead against that pile 
of socks now. 

Letty 
[Impatiently.] 
Oh, Father! [She throws herself back in the hammock, giving 
up the task as hopeless.] 

T. B. Carson 
Well, that's all right, Letty. Nobody's grudging you your music 
lessons. But, by gum, when you come to think of it — Five dol- 
lars for a half hour's lesson — that's going some ! 

Mrs. Carson 
Yes, it's going to be quite an expense. 

Ralph 
Look-a-here, you folks, you make me tired ! Let me tell you a 
few things. You act as if you had to economize ! [Ralph throws 
intense scorn into his word. The remainder of this speech, 
which is addressed directly to his father, should carry no sug- 
gestion of impertinence. The father's good-natured acceptance 
of it should add to this effect.] You sold four car loads of hogs 
last fall— you put the money in the bank ! You sold three car 
loads of young stock — you put the money in the bank ! You sold 
your wheat — and not at slump prices, either — you held out for 
your own price, and you got it — and you put the money in the 
bank ! Why the dairy alone keeps up this place ! The butter 
checks just about pay our running expenses — everything else is 
profit — and you put it in the bank. 

T. B. Carson 
Listen to Young America. 



The Lean Years 51 

Ralph 
Yes, listen ! You sit around and talk as if you had to scratch 
for a living — as if farming wasn't a paying proposition ! Do you 
think I'd be taking it up if there wasn't something in it? 

T, B. Carson 
[Dryly.] 
There's still considerable hard work in it. 

Mrs. Carson 
That's it. The children don't know what hard work means, so 
they don't appreciate the value of money. 

Letty 
Mother, you're always harping on that. 

Ralph 
But you aren't denying that the work brings in money. It pays. 
Isn't everything I said true? Money to burn, and you stick it in 
the bank to earn interest! Why the deuce can't we live as we 
go along? 

Mrs. Carson 
Now, Ralph, I won't have you talking to your father like that. 
We do live well. And you children have had advantages — you've 
had your schooling, and you've traveled, and you have your 
friends and dozens of interests that young people in my day 
didn't have — and your father and I don't begrudge you any of it. 
We want you to enjoy yourselves, but when you want to spend 
money for needless luxuries — 

Letty 
Mother, you make me fairly tired with your everlasting talk 
about economy ! It isn't only in big things — like Ralph's car — 
it's everything ! There you sit on this warm day and darn those 
old stockings — throw the whole lot away and buy new ones ! 

Mrs. Carson 
Letty ! Throw away good stockings ! 

Letty 
Oh, it isn't only the stockings — it's everything ! You're always 
saving things. Why I found you saving old newspapers — ^you 



52 The Lean Years 

said they came in handy for shelf papers and to line drawers — 
imagine, newspapers! And pieces of string! You're always 
rolling them up in little balls ! And you're always tickled, yes, 
honestly tickled, when you buy something two cents cheaper — 
you might think we were foreigners the way you economize on 
little things. And my dresses— you're always looking at them 
and telling me how you could turn them and fix them in this 
year's style. If there is anything I hate — Why, mother, you 
make me just ashamed ! 

Mrs. Carson 
Why, Letty— Letty— 

T. B. Carson 
[Severely.] 
See, here, young lady, you've said about enough. 

Letty 
Well, I don't care, it is a disgrace — the way she is always squeez- 
ing pennies. Why, mother, you're downright stingy ! 

Mrs. Carson 
[Letting her darning ball roll to the floor and leaning for- 
ward to face her husband.] 
Tom! [In a sharp voice] Tom! Am I like that? Have I grown 
to be that kind of a person? 

Ralph 
[Trying to soothe his mother.] 
It isn't as tho we were poor. 

Mrs. Carson 
[Her eyes fixed on her husband's.] 
It isn't as tho we were — poor! 

T. B. Carson 
[Repeating slowly.] 
No — not as tho we were — poor! 

QUICK CURTAIN 



It must he understood that the three short scenes that fol- 
lozv give memory pictures that are passing thru the minds 
of tzvo of the characters. If similar pictures could be 
shown from the minds of the others they would consist per- 
haps of long white roads and whirring wheels, or of ex- 
pansive concert halls and rows of white and black keys — 
but those things are of the future, we are here concerned 
with the past. 

The Tom and Lizzie Carson of the intervening scenes 
must be played by two other actors as nearly like T. B. 
Carson and Mrs. Carson as is possible and consistent 
with the changes due to passing years. 



54 The Lean Years 

SCENE I 
SCENE: 

Interior of a small frontier shack. The board walls are unpa- 
Pered. There is one windoiv. The furnishings consist of one 
cook stove, newly blacked; one cupboard, made of two dry- 
goods boxes set one on top of the other — the shelves of same 
are covered with newspaper cut into crude scallops and fan- 
tastic patterns; one pine table ; tivo pine kitchen chairs; one 
small cheap rocker. 

Enter Tom and Lizzie Carson. Tom carries two canvas tele- 
scopes. Lizzie precedes him into the room. Looks about her 
ecstatically. 

Lizzie 

Oh, Tom ! We're at home ! 

Tom 
[Dropping the telescopes and looking about dubiously.'] 

It's a poor home to bring you to, Lizzie. 

Lizzie 
[Examining everything.] 
Oh, the darhng cook stove ! Tom, I'll bet you blacked that up 
just for me! I know you never kept it so bright and shining 
while you were batching! [Taking off lid and peeking in.] And' 
the fire all laid ready to light! Tom, bring a match and let's 
light it quick. The first fire in our own house ! 

Tom 
Oh come, Lizzie, take your coat off first. [Helps her awkwardly 
to remove the coat (vintage of 1890) which has a very tight 
waist and very big sleeves. But before the queer little hat that 
perches so absurdly on her head is removed, she spies the cup- 
board and darts over to that.] 

Lizzie 
Oh, and the dish cupboard! You made it yourself! And the 
lovely shelf paper! Tom, don't tell me [with a sparkle of a 
laugh] Don't tell me that you cut those yourself! 

Tom 
[Proudly.] 



The Lean Years 55 

I did ! Yes sir, I did. Say, I tell you I sat up nights working 
out that pattern. You know you fold it all up and then snip 
around with the shears — and till you open it out you don't know 
what you're going to get ! I got some awfully queer looking 
ones before I worked out this one. It don't look so bad, does 
it, Liz? 

Lizzie 
Oh, Tommy ! It's lovely — it's beautiful ! [with a little spring, she 
goes to his arms]. Tom, I love everything in our home — because 
you made it, with your own hands — for me. 

Tom 

[His arms around her, one hand patting her shoulder.] 

It's a pretty poor home to bring you to, old girl. It's not much 

like what you been used to back in Ohio — only two little rooms — 

when you been used to a parlor and everything. 

Lizzie 
But, Tom, this is ours! And I think we have lots of things — 
a cook stove, a cupboard and dishes — and a table — and two chairs 
— Oh, Tom, and that nice little rocker ! Let me sit in it — I know 
you bought it for me. 

[She breaks away to sit in the little rocker,, rocking herself 
so hard that the absurd little hat that is still perched on 
her head wobbles dangerously.] 

Tom 
[Admiring her.] 
Lizzie, you'd look a lot more at home if you'd take your hat off. 

Lizzie 
[Laughing.] 
Oh, so I would; Help me find the pins, Tom. [Together they 
get the hat off, and Tom, for no reason at all, kisses her.] 

Tom 
Gosh, Lizzie, it looks good to see you here ! 

Lizzie 
It's good to be here, Tom — in our own home, on our own farm ! 
Tom, isn't it wonderful to own a whole farm — all by ourselves ! 



56 The Lean Years 

Tom 
Well, Lizzie, we don't exactly own it yet. There's that little 
matter of a mortgage to pay off. 

Lizzie 

[Snapping her fingers.] 
Pish! What's that! Why, we'll do that in no time, with good 
crops for a year or two. And in the meantime, think what fun 
we'll be having, living here all by ourselves, [jumping up.] Now, 
tell me about the neighbors, Tom. Do we have any neighbors? 
[running to the window]. 

Tom 

[Following.] 
Well, you can't see from here, but we got neighbors all right. 
There's Shane's place only five miles down that way — nice folks 
they are — he's got a nice wife and two little boys. I'll take you 
over to see them some day, Lizzie. It's only five miles — that's 
nothing out here — we don't count distance like you do back east. 

Lizzie 
[Bravely.] 
Five miles — why that's nothing at all. We could drive over there 
in an hour most any day, couldn't we? 

Tom 
Well — our team could pretty near do it in an hour. And then 
about the same distance down the other way there's some Swedes 
settled — but they're nice folks, Lizzie — even if they don't talk 
much English. And work — say, a fellow has to hustle to keep 
up with them ! 

Lizzie 
We'll keep up all right ! 

Tom 

And awfully good hearted folks — there's a Mrs. Nelson over 
there that's been sending me a batch of bread once in a while — 
say, she can cook. 

Lizzie 
Humph ! Bet you've forgotten what good cooking is ! But, Tom, 
it's time to get supper ! Come on — let's light our fire ! The first 
fire in our own home ! [Seising his hand and speaking more 
seriously] You do think we'll get on, don't you, Tom? That we'll 
pay off the mortgage — and everything '11 be all right? 



The Lean Years 57 

Tom 
It's just got to be all right now you're here, Lizzie. Come on, 
now light your fire. [He leads her to the stove, opens the door, 
gives her a match.] Here you are, Liz. 

Lizzie 
Tom, it will be an omen! Our first fire! If it burns well, and. 
the chimney draws, and it don't smoke — it will mean we are go- 
ing to succeed ! — Here — you lio^ht it ! 

Tom 
No, I want you should, Lizzie. Our first fire ! 

[Lizzie strikes the match, kneels slowly and reverently to 
apply it, Tom shielding her hands with his own.] 

CURTAIN 



58 The Lean Years 



SCENE II 

Same as before, with a cradle added. The stage is somewhat 
dark, with a dull, yellowish light. Lizzie kneels by the <cradle, 
rocking it gently. Tom is pacing up and down, looking now 
and again out of the window. He looks disheveled. Lizzie 
is wan and pale. The time is something over a year later. 

Lizzie 
Don't you think we might try the door open again, Tom? 

Tom 
[Savagely.] 
What's the use? It's hotter outside than in! 

Lizzie 
I know it, Tom, but it's so close. A little fresh air — 

Tom 
Fresh air ! Fresh from a furnace ! There ! [Flinging open the 
door.] There's your fresh air! Feel it! [Holding out his hand 
to the hot breeze.] 

Lizzie 
[Under her breath.] 
Oh, my God, Tom — it's like a bake oven — and the dust, the dust 
— close the door. [She adjusts a cheese-cloth canopy over the 
baby's cradle.] There, there, mother's baby! Does the old dust 
settle down on her little face. [Rocks the cradle gently, then 
rises and moves about the room. Runs her hand over the table.] 
Tsut! Tsut! I can't stand it! [Gets a duster from behind the 
stove and wipes off top of table and windozv sill.] Tom, this 
window sill is hot — actually hot to my hands — and the walls — • 
feel them, Tom! 

Tom 
[Who has thrown himself heavily in a chair.] 
I know — ^my God — I know ! 

Lizzie 
What do you suppose we're coming to? It isn't natural — this 
hot wind — ^hour after hour. They say Mrs. Shane's old mother 
thinks the end of the world is coming — I don't know as I blame 
her — maybe it is. 



The Lean Years 59 

Tom 
[Harshly.] 
The end's come for us all right. 

Lizzie 
Oh, Tom, maybe not. Maybe if it should blow up a rain — ■ 

Tom 
Blow up a rain ! That's what we've been saying for weeks. We 
said it last night — "If rain should come yet," we said, "even after 
all these weeks, it mightn't be too late." And off there in the 
west were the wind clouds — "It may blow up a rain," we said. 
Early this morning I heard the breeze stirring — "There she 
comes," I thinks — and by God, she came ! A wind off the fires 
of hell! There! [Goes to the door again and throws it open.] 
Listen! Hear that rattle? That pitter-patter — like rain — like 
rain drops on the roof? Know what it is? It's the rattle of the 
corn — the nice, refreshing breeze blowing thru our corn — burn- 
ing it to a crisp ! All the rain in heaven couldn't help us now ! 
[Bangs the door and hurls himself into a chair by the table, 
burying his head in his arms — his shoulders heaving.] 

Lizzie 
[Brokenly.] 
Tom — Tom — Tom! [A cry from the cradle reaches her ears. 
She crosses to the cradle, removes the cheese-cloth, soothes the 
baby, murmering.] There — there, mother's baby, Mother's prec- 
ious little Letty — Mother knows how warm it is — there — there — 

Tom 
[Lifting his head.] 
Can't you just remember how it was back in Ohio, Liz? 

Lizzie 
Let's not think about that, Tom. 

Tom 
Always so green, Liz. Even in late summer the pastures were 
green — and plenty of rain — never a dry spell like this — and never 
hot. 

Lizzie 

Well, sometimes a little warm, Tom. 



60 The Lean Years 

Tom 
And always plenty of rain — nice cool rains every day or so. 

Lizzie 
Yes, it was lovely, Tom. 

Tom 
And to think that we left it for this — this country that God for- 
got. Well, we've had enough of it ! We've learned our lesson — 
we're going back ! 

Lizzie 
[Looking wistfully about.] 
And leave our nice little home, Tom ! 

Tom 
Fine home It Is — with nothing to live on! 

Lizzie 
There, there, Letty. Does the horrid dust bother you — there, 
there — mother won't let it! Is it true, Tom, the Shanes are 
thinking of going back? 

Tom 
Well, yes, I guess so — anyway, Jim will go if I do. 

Lizzie 
And if we stay? 

Tom 
Well, I can't say — 

Lizzie 
And the Nelsons, and the other Swedes? 

Tom 
Well, I suppose the Swedes will stick — you see they've come 
across the ocean. 

Lizzie 
[Thoughtfully.] 
It would be rather a long way to go back — wouldn't it? And I 
suppose they'd feel rather sheepish, — and all their folks would 
say "I told you so — that country out there's no good — why didn't 
you listen to us and stay here at home — why couldn't you know 
when you were well off — with a good job clerking in the grocery 
store — ^now you can ask Uncle Amos to let you have your job 
back — and Lizzie can go back to the old folks — " 



The Lean Years 61 

Tom 
Lizzie, what you talking about? 

Lizzie 
About going back, Tom. Don't you just know what they'll say 
to us? Aunt Elvira and all of 'em! Tom, I won't go back! 
[She brings her fists down on the edge of the cradle, disturbing 
the baby.] There — there, baby. Mother's getting excited, but 
she didn't mean to disturb her precious ! 

TOM 

[Who has been looking very steadily at Lizzie.] 
What do you reckon we're going to live on, Lizzie, if we stay? 

Lizzie 
Lord only knows, Tom. What will the Swedes live on? 

Tom 

Lord knows, Liz — white beans, I guess. It's the only crop we've 
got this year. 

Lizzie 
Then we'll live on white beans! And next year, maybe — why, 
Tom, it just can't be^ like this every year! [Suddenly — starting 
to her feet.] Tom, the wind's gone down! 

Tom 
[Lifting his head.] 
Why, so it has — or has it only shifted around to the other side? 
[rising]. 

Lizzie 
[Quicker than he, darts to the window.] 
Tom! That looks like a thunder cloud. [Opens the door.] It is, 
Tom ! And the wind has changed — and it's cooler ! 

Tom 
[Moving slowly toward the door.] 
Too late for it to do any good now. 

Lizzie 
But it will be cooler and will settle the dust— and anyway, there's 



62 The Lean Years 

always next year. Tom, feel it — it's rain! [Holds out both her 
arms.] 

Tom 
Yes, there's next year — {throws an arm around his wife's should- 
ers and they stand together^ lifting their faces to the oncoming 
rain.] 

CURTAIN 



The Lean Years 63 



SCENE III 

Same as before, with an added touch or tzvo to indicate slight 
prosperity, 'curtains at the zvindozar, perhaps. If possible have 
the cook stove moved out. The time is a late autumn after- 
noon some tzvo or three years later. Lizzie is moving about 
the room, looking nozv and then out of the zvindozv. Running 
to the door, she zaaves her hand and calls. 

Lizzie 
Hoo-hoo ! Are you coming in now or going to put up the team 
first? Oh, all rght— that won't take long, will it? Supper's all 
ready. [Exit thru a door at the right — returns bearing a covered 
dish. Exit again R. To7n enters thru the outer door — looks 
about him zjuith a secretive air.] 

Lizzie 
[Looking in at the door.] 
Hello, Tom. 

Tom 
Hello, Liz. Kids asleep? 

Lizzie 
Yes, I gave them their supper early. They've played so hard to- 
day. Take your coat off and sit down, Tom. I'll bring your cof- 
fee in a minute — I didn't want to make it till you came. [While 
talking she has gone back into the kitchen.] 

Tom 
No hurry, Liz. 

[He tip-toes about, again zvith that secretive air, takes a 
peep thru the kitchen door, then makes a sudden bolt for 
the outer door — comes back in a moment pushing some- 
thing before him — a sezving machine.] 

Lizzie 
[Calling.] 
You might sit down, Tom, and help yourself to the potatoes — 
I'll be in in just a moment. 

Tom 
All right, Liz. [He pushes the machine back against the wall 
near the kitchen door, makes a dive for his chair and begins 
rattling the dishes.] 



64 The Lean Years 

Lizzie 
[Entering.] 
Here's the coffee, Tom. I'm so sorry you had to wait. 

Tom 

[Genially.] 
Oh, that's all right, Liz. 

Lizzie 

[Sits down opposite him and pours his coffee.] 
Now, tell me all about it, Tom. 

Tom 

[Quissically.] 
About what? 

Lizzie 

Oh, you know, Tom. Did you get a good price? 

Tom 

[Beaming.] 
You bet I did, Liz. 

Lizzie 

Oh, Tom! As much as you expected? 

Ton 
More ! 

Lizzie 
[Clasping her hands.] 
Oh, Tom! 

Tom 

Market had gone up two cents ! 

Oh, Tom. And you sold all the crop? 

Tom 
Yep! 

Lizzie 

Lizzie 
Oh, Tom ! And you put the money in the bank ! 

Tom 

Yep! 



The Lean Years 65 

Lizzie 
Oh, Tom, isn't it wonderful to put money in the bank. Let's see 
the bank book, Tom, to see what it looks like ! 

[Tom hands over the book, which she looks at reverently.] 

Lizzie 
I can hardly believe it, and now we can make a payment on the 
mortgage. Isn't it glorious? 

Tom 
It sure is. [Takes a hearty drink of coffee.] 

Lizzie 
How's the coffee, Tom? 

Tom 
Fine! You're a great cook, Liz. 

Lizzie 
How much do you think I paid for it, Tom? 

Tom 
Good price — ^judging by the taste. 

Lizzie 
Tom, that's Arbuckle's nine cent coffee ! Now isn't it just as 
good as any 12 or even 18 cent coffee you ever drank? I got 
this package to try, and now after this by buying three at a 
time, I can get a reduction, — 

Tom 
Say, Liz, you are the girl to squeeze the pennies ! 

Lizzie 
[Rising — in mock indignation.] 
Well, it's mighty lucky for you, Mr. Tom Carson, that you have 
a wife who knows how to squeeze the pennies ! I'd like to know 
where you'd be if you hadn't. [With a little courtesy, she turns 
and flings towards the kitchen, coming face to face with the ma- 
chine. She stops.] Why, Tom! [she says under her breath.] 
It's a sewing machine! [Gazing at it mutely for a moment, she 
drops to her knees, her hands clasped. Then, burying her face 
in her hands, she sobs noiselessly.] 



66 The Lean Years 

Tom 
[Pushing back his chair and rising.] 
Why, Lizzie — why, Lizzie, girl. What's the matter? Why, Lizzie, 
I thought you'd be kind o' pleased. [Raises her to her feet, she 
clings to his shoulder.'] 

Lizzie 
Oh, I am, Tom. I ami 

Tom 

But, what you crying about! 

Lizzie 
Oh, Tom, because, I'm so happy! [Laughing and crying.] Oh, 
Tom, I was never so happy in my life! [Wiping her eyes and 
looking at the treasure.] A sewing machine [Breaking away 
from Tom, she goes over to examine it — takes off cover.] How 
does it work? [turns wheel.] Oh, I'm so glad the wheel goes 
forward. I can't abide a machine that starts backward — not but 
what I'd have been just as pleased to have one. Oh, Tom, you 
darling I 

Tom 
Looks kind of nice, don't it. Liz? Sort of helps furnish the 
room. 

Lizzie 
It looks lovely, Tom. And won't I have a good time using it, 
tho? I'll make you a new shirt first thing, Tom. And Til make 
some new little dresses for Lettie. It threads just like mother's 
— [She is still examining the machine — standing off to admire 
it.] It does look nice, Tom — ^and just fills up the space left by 
the stove. 

Tom 
Yea, that's what I thought, Liz, when we built the lean-to for 
the stove. I thinks to myself, 'By jinks, if the crop turns out 
good this year, and we get a fair price, I'm going to get some- 
thing nice for Lizzie.' First I thought of a sofa — one of those 
plush ones, you know — then it j-ust came to me one day that a 
sewing machine was the thing. 

Lizzie 
Oh, yes, Tom — there's nothing I'd rather have than a machine. 
And I can do so much with it. But, Tom, your supper's getting 
all cold — come and sit down and let me give you another cup of 
cofifee. 



The Lean Years 67 

Tom 
But, Lizzie, you aren't eating anything yourself. 

Lizzie 
Oh, I ate a bite with the children — besides, I'm too happy to eat. 
Tom, I know what I'm going to make first — a little suit for 
Ralphie — like one I saw a picture of in the Ladies' World — it 
was all in one piece, Tom — a plain waist and little panties, with 
a belt around — look, Tom [she measures off on her own person] 
— a child's romper, it was called — and looked awfully cute, and 
sensible, too — they say little boys are wearing them instead of 
kilts — they are putting little boys into trousers sooner than they 
used to — at three or four years — or even, two, they say. Tom, 
wouldn't Ralphie look cute in little panties? 

Tom 
[Grinning.] 
And what you going to make for yourself, Lizzie? 

Lizzie 

Oh, I'm all right. Maybe after awhile, I'll make my blue dress 
over again. 

Tom 
[Rising slowly and coming around to his wife's chair.] 
Well, the time's coming, old girl, when you won't have to make 
over your clothes. 

Lizzie 
Why, I don't mind, Tom. Besides, I think it's kind of interest- 
ing to see what you can do with old things. 

Tom 
[He stands behind his wife's chair, his hands on her should- 
ers.^ She reaches her own hands up to clasp his. Her 
chair is turned so that she faces the audience, and there is 
a far-away look in her eyes, as tho she looked into the 
future.] 
Just the same, the time's coming when there won't be any need 
— now that we've got a start we can stand a bad year once in a 
while — and then bad years are so rare out here. Oh, this is God's 
own country, Liz — not like back in Ohio, where you had to dig 
for everything you got. Yessir, Liz, some day we're going to 
be rich! And we're going to have things! And do you know. 



68 The Lean Years 

Liz, what rm going to have first? I made up my mind to it 
while I was driving along to-day behind those old plugs ! I'm 
going to have a driving horse ! Yessir, a nice little roadster — 
just for driving — and a little runabout, with yellow wheels ! — 
Hum — some speed we'll make along the highway, eh, Lizzie? 

Lizzie 
Oh, Tom, you are the greatest one to want to go — I don't mind 
plodding — and now that I have my new machine and the lean-to 
built on for the stove, I can't think of anything else I could 
possibly want — I feel so rich now ! Unless — there's just one 
thing — Oh, I wonder if we could have it before Letty grows up ! 
Tom — I want to have a cabinet organ, so's Letty can take music 
lessons — there's a teacher come to Millsville, they say, that gives 
a term of lessons, twenty for five dollars — Oh, Tom! Do you 
suppose we could ever afford it? 

Tom 
I shouldn't wonder if we could afford it, old girl. Why, Lizzie, 
the time's coming when we* can afford anything! 

CURTAIN 

And then a return to the original scene. 



The Lean Years 69 

The characters keep the positions they had when the ^curtain fell 
for the first intervening scene. T. B. Carson and Mrs. Carson 
are looking at one another with fixed gaze. Ralph and Letty 
appear to be puzzled. 

Ralph 

Well, say, come out of it! 

T. B. Carson 
Say, Lizzie, whatever became of that old sewing-machine — the 
one I brought home to you? 

Mrs. Carson 
Why, Tom, how funny — I was just thinking about that, too. It's 
in the attic, Tom. I could never bear to part with it. Why, 
[turning to look at her son, running her eye over him from head 
to foot] I made Ralph's first little panties on that machine. 

Ralph 
Well, what in the name of — What's come over you? Here we 
sit, having a sensible conversation, and all of a sudden you two 
go off into a kind of a trance for five minutes or so, and then 
come back out of it and begin to talk about [looks down at his 
immaculate trousers] Oh, gosh ! 

Mrs. Carson 
Well, you did look cute in them. Didn't he, Tom? Wouldn't it 
have been nice, Tom, if there'd been kodaks in those days, so's 
we could have had pictures of the children? 

T. B. Carson 
[Chuckling.] 
Now, Liz, you know you would never have let me buy one. You 
were a great girl to save the pennies, Lizzie. 

Mrs. Carson 
And wasn't it a lucky thing for you that I was. 

T. B. Carson 
Dam lucky. Liz, do you remember that hot wind ? 

Letty 
Well, what started this anyway? 



70 The Lean Years 

Mrs. Carson 
Why, I don't know — something Ralphie or one of you said set 
me to thinking of old times. Let's see, what were we talking 
about anyway? Oh, Ralph wanted something, didn't he? 

T. B. Carson 
Yes — a runabout. 

Mrs. Carson 
With yellow wheels? [They both laugh.] 

Ralph 
Well, I give up. [He and Letty exchange glances.] 

Mrs. Carson 
Whatever became of it, Tom? 

Tom 
I gave it away to that young what-his-name when he was getting 
his start. I believe they're still using it to take milk to factory. 
Pretty fine little cart that was^ — and say, I never had a nicer little 
horse — remember that first Fourth of July celebration we went 
to ? — passed everything on the road ! 

Mrs. Carson 
[Looking from Ralph to his father.] 
Tom! I don't know as we can blame Ralph — he comes by it 
naturally. 

T. B. Carson 
What? 

Mrs. Carson 
His love for speed — the way he likes to go! 

Tom 
[Grinning.] 
Well, what about Letty and her music lessons at five dollars a 
half hour? 

Mrs. Carson 
Twenty lessons for five dollars, Tom. [They laugh again.] 

Letty 
Well, really, I don't like to interrupt — but what has got into you 

two? . , , , , ^ .,, I ;. j;jAiLij/ 



The Lean Years 71 

Mrs. Carson 
Why, we were just talking about your first music lessons, Letty. 
Don't you remember? Miss Casey used to come out from Mills- 
ville once a week to give you a lesson? 

Letty 
Oh, heavens, yes — on that funny old cabinet organ— don't you 
remember it had queer little knick-knacks on it — and little shelves 
where you put family portraits, and a vase with dried grasses 
and everlastings in it ! Aren't those old things killing when you 
think about them? 

T. B. Carson 
[With sarcastic emphasis.] 
Quite killing. 

Mrs. Carson 
We had a party, Tom, the night we brought it home — do you re- 
member? And I chorded for you to play the mouth organ — and 
old Jim Larson brought his fiddle and we danced — do you re- 
member — 

Ralph 
Well, say — 

T. B. Carson 
[Who has come around behind his wife's chair to take the 
position held at the end of the preceding scene.] 
Those were great old times, Lizzie. Whatever became of — 

Ralph 
Well, say — 

T. B. Carson 
What? Would you young folks mind running away — your mother 
and I have some things to talk about. 

[Ralph and Letty rise, looking hurt.] 

T. B. Carson 
And, by the way, they're a couple of new catalogs from Detroit 
in there on my desk — you might look 'em over and pick out what 
you want. 

Letty 
Oh, father! Can Ralph have his car? 

T. B. Carson 
Think we can afford it, Lizzie? 



72 The Lean Years 

Mrs. Carson 
[Laughing a little unsteadily.] 
I guess maybe we can afford it now, Tom. 

T. B. Carson 
[In imitation of Ralph.] 
It isn't as if we were poor. 

Mrs. Carson 
[With slow emphasis and inner meaning — in her eyes the 
far-away look of one who sees into the past.] 
No — ^it isn't as if we were — poor ! 

THE END 



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